The defining characteristic of any given jazz musician is frequently his sound. The more control a player has over the nature of that sound, the more likely he is to project a distinctive musical personality.
This 1987 date teams the iconoclastic pianist with guitarist Bill Frisell, drummer Paul Motian, and British saxophonist John Surman. While it's easy to argue that, with Manfred Eicher's icy, crystalline production, this was a stock date for both the artists and the label, that argument would be flat wrong. Bley was looking for a new lyricism in his own playing and in his compositions. He was coming from a different place than the large harmonies offered by augmented and suspended chords and writing for piano trios. The other band members – two other extremely lyrical improvisers in Surman and Frisell.
At the very end of the 1980s, Anssi Karttunen and Kari Kriikku, old friends from their days at the Sibelius Academy, decided to commision works from all major Finnish composers for the then-usual combination of cello and clarinet. Sure enough, most composers agreed, and the two performers were even able to premiere the pieces in short order. It took 15 years, however, for Ondine to release the recording which Karttunen and Kriikku promised. I am not a fan of all the composers here, so I will limit my comments to four works……….. Lots of fun.Christopher Culver @ Amazon.com
THE COMPLETE BILL EVANS ON VERVE is an 18-disc, 269-track box set featuring every track that Bill Evans recorded for Verve between 1962 and 1969, including 98 previously-unreleased tracks. It includes a 160-page, full-color book. THE COMPLETE BILL EVANS ON VERVE was nominated for a 1998 Grammy Award for Best Recording Package - Boxed and for Best Historical Album. The 18 CDs in this exhaustive set provide a comprehensive picture of Bill Evans from 1962 to 1969, a period when the pianist was both consolidating his fame and sometimes taking his music into untested waters, from unaccompanied piano to symphony orchestra. His work with multitracked solo piano, originally released as Conversations with Myself and the later Further Conversations with Myself, was the most remarkable new format for his introspective music. It gave Evans a way to be all the pianists he could be at once–combining densely chordal, harmonically oblique parts with surprising, rhythmic punctuation and darting, exploratory runs.